It's not the weight/wait That brings me down. The aweful/awful way You treat me. You treat me. OK It's just that I don't think You see me. You see me. You see me at all/et al.
JOHN: This is a product of sitting around late one night. One of the reasons Screeching Weasel did so well was because we ventured away from where hardcore had gone. They had lost any sense of melody and harmony, and lyrics were all sung identical to the chord changes being made. So with Even In Blackouts Liz and I worked hard on trying to come up with melodies that stray from the the base chord, and we try to create lines that often contrast with the rhythm of the chord changes. Once I felt we had a grip on that I brought back the parts where we sing exactly what is being played (in rhythm and in notes). We did this in 1,000 Stories. It seems to go well with the songs inspired by bluegrass. I don't know if this is remotely like bluegrass but the intention came from that. Then I liked the idea of using a talkbox. I have always been fascinated by the talkbox. I love the way it sounds in Aerosmith's Sweet Emotion. I thought it would be cool to try it on an acoustic guitar. So now the guitar exactly mimics the vocals. Then I wanted the second half of the songs without lyrics to sound like an explosion of emotion, so we sat in the studio and came up with as many melody lines as we could that sat together well. We layered about 6 of them on top of each other. This section was inspired by Neutral Milk Hotel. I wanted a trumpet player to record a very distorted lead over the music and vocals but we couldn't find a trumpeter in time. The lyrics I am pretty proud of. They sound fairly simple but each sentence has one homophone, giving each sentence two slightly different meanings which adds to the whole. I'll let you put the pieces together. It's not a puzzle as much as it is a short story about what we expect from love.
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